Rozprawy doktorskie na temat „Scenic presence”

Esta dissertação trata de estratégias usadas por três professoras de dança, na sua prática pedagógica, para que seus alunos cheguem à presença cênica. O material empírico foi constituído a partir de uma pesquisa de inspiração etnográfica, realizada nas aulas de dança das professoras Dagmar Scherer Dornelles, Luciana Paludo e Simonne Rorato, em Porto Alegre. Foram observadas oito aulas de cada professora, realizou-se entrevista com cada uma delas e fez-se um registro fotográfico. Discutem-se as estratégias pedagógicas utilizadas como modo de atingir a presença cênica. Expõemse três eixos de análise para tornarem visíveis essas estratégias: eles dizem respeito 1. às ações cotidianas e às ações ritualizadas que são observadas nas aulas; 2. à consciência como um modo de presença, a partir dos usos de diferentes cuidados com o corpo; e, 3. às estratégias que vão além das questões técnicas. Esta dissertação sugere, ao finalizar, que as estratégias usadas pelas três professoras, sujeitos desta pesquisa, configuram modos contemporâneos de ser professora de dança.
The following dissertation discusses pedagogical strategies used by three teachers of dance to make their pupils obtain scenic presence. The empirical material was constituted by a few observations of classes of dance teachers (Dagmar Scherer Dornelles, Luciana Paludo and Simonne Rorato) of Porto Alegre, Rio Grande do Sul, Brasil, in the form of a ethnographic journal. Eight lessons of each teacher had been observed, carried through an interview with each one of them. It was made a photographic register. The text analyzes those pedagogical strategies - considered as a way to obtain scenic presence - from three axles: 1. everyday and ritualized actions as observed in the lessons; 2. the consciousness as a way to the presence - that would be obtained from the use of different cares with the body; and, 3. other kinds of strategies - not only technical. The text suggests that the pedagogical strategies used by those three teachers of dance designs contemporary forms of being dance teacher.

Syftet med följande arbete är att undersöka om och hur Learning study som är en metod att granska, analysera och utveckla pedagogiken, kan förbättra undervisningen i teater på gymnasiets teaterestetiska inriktning. Jag vill säkerställa att kommunikationen i undervisningen fungerar och förbättrar deras kunskaper gällande begreppet närvaro inom teaterämnet. Enligt den ryske teaterpedagogen Stanislavskij så innebär närvaro en överensstämmelse mellan skådespelarens övertygelse i karaktären och det uttryck skådespelare och regissör vill förmedla. (Järleby, 2001, s. 174-175.) I detta arbete har jag även reflekterat och redogjort för tidigare forskning genom två studier inom Learning Study och en studie i teater. För att ta reda på hur jag genom Learning study kan förbättra min undervisning har jag använt en metod i form av en Learning study-cykel. Sammanfattningsvis upplever såväl lärar- som elevgruppen positiva effekter. Eleverna har uttryckt att de känt sig speciellt utvalda då de fått delta i Learning study-projektet. I arbetet framkom vikten av samarbetet på scenen och en ökad förståelse för närvaro under processens gång.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This dissertation aims to show how it is the presentification of the scenic direction in dance on the creative process of Acasos Dance Company's spectacle, Sopro, of 2014. This is done through the poeticpedagogical processes, situated as the strategies and ways of working that have been used in the construction of this spectacle from from a collective direction format.To this end it was held monitoring of the creative process of Sopro with strategies and instruments of the ethnographic method as the interview and participant observation. This added to the feature of being a work in which the researcher is involved in the search field, enhances the adoption of autobiographical tone thought from the Autoetnografia.To position the poeticpedagogical processes as agents of direction's presence in dance and the will of contact with the things of the world that accompanies the Sopro spectacle, it was used the understanding of Production of presence of Gumbrecht (2010).It is expected that the collective direction can be thought in a pedagogy of expression through poeticpedagogical processes, which put into evidence a dance pedagogy, that occurs in the making with powerful creative possibilities and developments of trading relations and of acquaintanceship in a collectivity.And that way, could be tried in other scenery- not only in independent dance companies as Acasos - but in other artistic works or even in a formal education.
A presente dissertação se propõe a evidenciar os processos poéticopedagógicos que foram utilizadas no processo criativo do espetáculo de dança Sopro, de 2014, da Acasos Cia de Dança, de Santa Maria. Neste contexto são situados como as estratégias e formas de trabalho que concentram e articulam a pedagogia da dança referente às práticas envolvidas no processo criativo desse espetáculo a partir de um formato de direção coletiva. Para tal, foi realizado o acompanhamento do processo criativo do espetáculo Sopro com estratégias e instrumentos do método etnográfico como a entrevista e a observação participante. Isso, somado a característica de ser um trabalho na qual a pesquisadora está implicada no campo de pesquisa é potencializada a adoção de um tom autobiográfico da escrita pensado a partir da Autoetnografia. São pontuadas as questões referentes aos conceitos de processo, poético e pedagógico, aliados a uma apropriação poética do entendimento de Produção de Presença de Gumbrecht (2010). Isso para posicionar os processos poéticopedagógicos como agentes de presença de um mecanismo pedagógico no fazer poético em dança e relacioná-los a vontade de contato com as coisas do mundo que acompanha o espetáculo Sopro. Os processos poéticopedagógicos postos em evidência neste trabalho podem oferecer um olhar para uma pedagogia não só, mas também da dança, que se dá no fazer com potentes possibilidades de criação e de desenvolvimento das relações de negociação e de convívio na coletividade. E, dessa forma, amplia as possibilidades de experimentação da mesma em outros cenários que não só em Cias independentes de dança como a Acasos mas em outras empreitadas artísticas ou mesmo em outros regimes de ensino.

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Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)
A pesquisa aqui proposta pretende refletir sobre as formas de presença do ator existentes no teatro a partir da fusão com a linguagem cinematográfica. Sob o ponto de vista do ator, foi pesquisada a nova dimensão da sua presença no palco, caracterizada pela utilização da câmara e do microfone. Para tanto, introduzimos uma breve história do teatro durante o surgimento do cinema visando contextualizar os estudos e reflexões contidos nos capítulos seguintes, nos quais serão aprofundados os avanços tecnológicos que culminaram no momento presente. Ao estudar as possibilidades do uso de recursos digitais no teatro, o foco é direcionado para as relações entre ator, câmera e projeção, visando investigar as possíveis formas de presença que vem sendo exploradas no teatro. Assim, o estudo é desenvolvido a partir das encenações: "E se elas fossem para Moscou?", de Christiane Jatahy; "King of War", de Ivo Van Hove; " Le Projet Andersen", de Robert Lepage; "The Tempest", de 4DArt; "Eraritjaritjaka", de Heiner Goebbels. A escolha dos espetáculos se deu devido a diferentes formas de captação e projeção das imagens em vídeo, que possibilitam, formas distintas de presença e de convívio entre ator-câmera-espectador. Por fim, é esperado, também, que o estudo propicie subsídios analíticos para a investigação das novas possibilidades deste “teatrodigital” e das tendências que se desanuviam em um futuro próximo de evolução tecnológica e diversificação técnica.
The present research intends to reflect on actor’s types of presence in theatre from the fusion with the cinematographic language. Under the actor’s point of view, it was researched a new dimension of his presence on stage, characterized by the use of camera and microphone. To this end, the study begins with a short history of theatre during the rise of cinema so as to contextualize the studies and reflections contained in future chapters, which present technological advances culminating in the present day. In studying the possibilities of this “theatre-cinema”, the research focuses on relationships between actors, cameras, and projections, as well as investigating possible forms of presence that both cinema and theatre explore, and that enable new relations between actors and spectators to be formed. The study examines the following scenic productions: "E se elas fossem para Moscou?" by Christiane Jatahy; "King of War", by Ivo Van Hove; "Le Projet Andersen", by Robert Lepage; "The Tempest", by 4DArt; and "Eraritjaritjaka", by Heiner Goebbels. The choice of productions is based on different forms of capturing and projecting video images, which allow for distinct modes of presence and of interaction between actors, cameras, and spectators. Finally, the research also aims to supply analytic tools toward the investigation of new possibilities of this “theatre-cinema” and of tendencies that will arise in the near future, based on technological evolution and technical diversification.
FAPESP: 2013/06541-3
FAPESP: 2015/06139-6

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Neste trabalho elaboro uma análise crítico-reflexiva sobre o desenvolvimento do espaço cênico e da presença do ator e do espectador a partir da utilização das tecnologias da informação e comunicação. Adoto como eixo para a reflexão o pressuposto delimitador que ainda hoje é definidor de um evento teatral – a presença de pelo menos um ator e um espectador em um espaço determinado unidos por um acordo tácito. Com base nesse pressuposto relaciono ao longo do trabalho conceitos e definições referentes às tecnologias digitais da informação (realidade virtual, virtualidade, telepresença, ciberespaço) com os elementos do teatro e sua aplicabilidade na arte teatral. Analiso exemplos de propostas de espetáculos construídos sobre a perspectiva do teatro digital e midiático e por fim proponho duas características de um possível teatro digital.
In this paper I develops a critical and reflective analysis of the development of the scenic area and the presence of the actor and the spectator from the use of information and communication technologies. I adopt as an axis for reflection delimiter assumption that today is defining a theatrical event - the presence of at least one actor and spectator states in a given space unite by a tacit agreement. Based on that assumption I do a relation about concepts and definitions relative to digital information technologies (virtual reality, virtuality, telepresence and cyberspace) with the elements of theater and their applicability in theatrical art. I analyze examples of plays built on the perspective of digital and mediatic theater and finally i propose two characteristics of a possible digital theater.

A presente pesquisa, de cunho teórico-prático, apresenta o registro dos procedimentos de preparação técnica e montagem do diretor e atores do Odin Teatret segundo a ótica da Antropologia Teatral e persegue as noções de presença cênica e autonomia do ator. A partir da vivência da tradição de seus atores e documentação realizada em campo sobre treinamento e criação por eles difundidos, são selecionadas, descritas e experimentadas técnicas aplicadas na preparação pré-expressiva e em uma composição cênica pessoal. Na revisão de literatura, estabelece o diálogo com a linhagem de diretores-pedagogos do século XX, como Stanislavski e Grotowski e com estudiosos e críticos da Antropologia Teatral. Na aproximação com o conceito de presença, traz Hans Ulrich Gumbrecht para introduzir as noções de dramaturgia usadas por Eugenio Barba. Os registros e análises se valem de pressupostos da pesquisa qualitativa por meio da autoetnografia para sua organização. A identificação dos procedimentos mapeia as aplicações atualizadas das tradições do Odin Teatret. Por fim evidencia o percurso de personalização dos estímulos, sua aplicação pedagógica e o processo de montagem de materiais na dramaturgia da atriz-pesquisadora. Por meio de seus agentes, a pesquisa permitiu apurar as noções que perseguia sobre o trabalho técnico e o processo de autonomia do ator
This research, of a theoretical-practical nature, introduces the register of the technical preparations\' proceedings and production of the Odin Teatret director and actors, from the viewpoint of the Theatre Anthropology, and it pursuits the notions of scenic presence and the actors\' autonomy. Based on the experience of its actors\' tradition, and on a documentation held in fieldwork, about training and creation widespread by them, applied techniques are selected, described and experimented in the pre-expressive preparation and in a personal-scenic composition. In the literature review, it establishes a dialogue with the lineage of directors-pedagogues from the 20th Century, such as Stanislavski and Grotowski, and with scholars and critics of the Theatre Anthropology. In the approximation of the presence concept, it brings Hans Ulrich Gumbrecht to introduce dramaturgy notions used by Eugenio Barba. The registers and analysis rely on assumptions of the qualitative research using autoethnography to its organization. The identification of the proceedings maps the updated applications of the Odin Teatret\'s traditions. Lastly, it evidences the course of stimuli personalization, its pedagogical application and the material production process in the actress-researcher\'s dramaturgy. By its agents, the research allowed to ascertain the notions it searched about the technical work and the actor\'s autonomy process

The objective of the study was to determine how visitors perceive park management method alternatives to preserve scenic beauty in Mounds State Park, and how other factors, such asvisitor characteristics and primary purpose for visiting the state park affected their preferences. Additionally, this study has presented a comparison of preferences for park management approaches between park managers and visitors, and a relationship between visitors' perceptions of scenic beauty and other factors. Furthermore, this study explored the contribution of a qualitative analysis. The result showed that visitor preferences for some park management approaches were influenced by sociodemographic characteristics, while visitor preferences for other park management approaches were influenced by the current state of scenic conditions in the park. Differences were observed between park manager's perceptions and visitors' perceptions. Visitors' perceptions of scenic beauty were related to whether or not they had visited the park in the past. Finally, it was clear that qualitative analysis was worthwhile for obtaining information that quantitative data could not provide.
Department of Natural Resources and Environmental Management

Real-world radiance values can range over eight orders of magnitude from starlight to direct sunlight but few digital cameras capture more than three orders in a single Low Dynamic Range (LDR) image. We approach this problem using established High Dynamic Range (HDR) techniques in which multiple images are captured with different exposure times so that all portions of the scene are correctly exposed at least once. These images are then combined to create an HDR image capturing the full range of the scene. HDR capture introduces new challenges; movement in the scene creates faded copies of moving objects, referred to as ghosts. Many techniques have been introduced to handle ghosting, but typically they either address specific types of ghosting, or are computationally very expensive. We address ghosting by first detecting moving objects, then reducing their contribution to the final composite on a frame-by-frame basis. The detection of motion is addressed by performing change detection on exposure-normalized images. Additional special cases are developed based on a priori knowledge of the changing exposures; for example, if exposure is increasing every shot, then any decrease in intensity in the LDR images is a strong indicator of motion. Recent Superpixel over-segmentation techniques are used to refine the detection. We also propose a novel solution for areas that see motion throughout the capture, such as foliage blowing in the wind. Such areas are detected as always moving, and are replaced with information from a single input image, and the replacement of corrupted regions can be tailored to the scenario. We present our approach in the context of a panoramic tele-presence system. Tele-presence systems allow a user to experience a remote environment, aiming to create a realistic sense of "being there" and such a system should therefore provide a high quality visual rendition of the environment. Furthermore, panoramas, by virtue of capturing a greater proportion of a real-world scene, are often exposed to a greater dynamic range than standard photographs. Both facets of this system therefore stand to benefit from HDR imaging techniques. We demonstrate the success of our approach on multiple challenging ghosting scenarios, and compare our results with state-of-the-art methods previously proposed. We also demonstrate computational savings over these methods.

COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
O presente estudo tem como objetivo analisar as manifestações literárias produzidas pelos autores pertencentes à Literatura Marginal, buscando compreender as principais características textuais e políticas deste movimento. Nessa perspectiva, os produtos discursivos marginais serão vistos como manifestações contra-hegemônicas, resultantes de um esforço em produzir uma imagem própria sobre a vivência marginalizada, silenciando, assim, qualquer outro discurso produzido fora do espaço periférico. Para tanto, foi utilizado um arcabouço teórico que possibilita ler as formas de agenciamento político produzidas por este grupo. Além do exame do objeto literário, é realizada uma aproximação destas narrativas com o movimento Hip-Hop, mais precisamente com o RAP, colocando em relevo as muitas semelhanças quanto à estrutura textual das formas poéticas e as formas de veiculação de um discurso que almeja a conscientização dos leitores/ouvintes. Por se tratar de uma experiência literária pouco comum, a presença de escritores marginais em nossa série literária também apresenta novos questionamentos sobre a função e o papel do intelectual. Se outrora era o intelectual quem desempenhava a função de portavoz destes grupos, agora são os próprios marginais que rompem com a passiva posição de objeto e passam a figurar como sujeitos. Ao lançar um olhar crítico sobre esta disputa discursiva é possível identificar as tensões que o movimento de autores periféricos inaugura.
The present study aims to analyze the literary work of authors who are part of the Literatura Marginal (Literature from the Outside) as a way to understand the chief aspects of this movement’s writing style as well as its main political characteristics. From this perspective, the productions of the periferia discourse will be understood as counter-hegemonic manifestations that originate from an effort to produce a specific view that reflects the marginalized experience, thus silencing any other discourse produced outside of the periferia space. To this end, we developed a theoretical outline that brings an understanding of the kinds of political engagement produced by this group. In addition to examining the literary product itself, this study considers the parallels between this type of narrative and the Hip-Hop movement, more specifically Rap, highlighting the many similarities between them as they relate to the structure of the writing and the way the discourse is disseminated, aiming at the conscientization of readers/listeners. Because this relates to an uncommon literary experience, the presence of periferia writers in our literary series also raises new questions about the role of the intellectual. If before it was the intellectual who acted as the spokesperson for these writers, now the outsiders themselves break with the passive role of objects and claim their place as protagonists. In bringing a critical view to this debate it is possible to identify the tensions that the periferia authors bring to this discussion.

This artistic research project is an explorative study in new forms of expression of Swedish folk singing in a scenic context, exploring expressive qualities in traditional Swedish folk song from the point of view of the folk singer as a creative performer. The fundamental research question is how, in a scenic context, can space be given to what is a characteristic quality of traditional folk song, namely creative interpretation in the moment, through variation and improvisation using the song as a concept rather than a fixed work. How can this view be expressed in a staged concert form that enhances the perception of the music being created in the moment? How can the aesthetic qua- lities and forms of variation and improvisation that are inherent to traditional folk singing be explored?The artistic exploration has been performed through five productions/projects, each one with its own specific theme: ReBoot/OmStart – en folksångperformance, Kurbits-Koral, The Spirit of the Moment – en musikhändelse, Getens horn – en musikskapelse, Voice Space – Röstrymd, Kulning – en utsmyckning av oändligheten. The thesis focuses on two aspects of the knowledge that has been developed in the artistic work, namely the processes for creating the work and the artistic concepts used to explore the question artistically.In ReBoot/OmStart the subtle forms of variation typical of traditional Swedish folk singing are explored within the frame of a concert consisting of one continuous set, a folk song performance. In this work principles of varia- tion for music and lyrics that are typical for Swedish traditional folk singing are explored, as well as new concepts for associative variation in the performance. This includes improvised combinations of different melodies as well as utilizing the frame story of a ballad as the ground for the performance rather than a specific ballad text.Kurbits-Koral has been inspired by traditional folk hymns, historical evidence of traditional folk hymn sing- ing, by the role of sacred folk song in traditional contexts and from folk polyphony. It can be viewed as a prac- tical exploration of the dimension of polyphony – monophony in folk vocal performance. This concert-perfor- mance also explores a form for interactive performance where the boundary between the audience/auditorium and the artists/stage is challenged, based upon the idea that the audience and the artists are jointly involved in a musical ritual or story-telling – the concert as a musical happening.Getens horn is an ensemble performance of entirely original music, which uses the form of an associative musi- cal narration in a scenic context that was developed in the previous concert projects. The lyrics of the songs ori- ginate from traditional and new stories about creation, how everything came about. It can be viewed as a musical saga, but not in the sense of a coherent literary narrative, rather as a musical narration, an associative web.In Voice Space traditional folk singing meets live electronics in a scenic space, where the interplay between live electronics and voice/instruments creates the possibility for an associative musical narration, a Voice Space. Can the fixed, static nature of a loop pedal and the flexibility of traditional folk singing voice introduce a creative tension? Voice Space can be regarded as a playful exploration of illusions and expectations within dimensions such as space, polyphony-monophony and improvisation-composition.Kulning explores the pedagogical and artistic applications of kulning as a vocal expression, in terms of style and vocal technique. How can the art of kulning as a form for vocal and artistic expression be explored pedago- gically, from a performance perspective?The result of this doctoral project consists first and foremost of the individual works, as documented in recordings/films, a book and in ‘musical scripts’, but also of the creative methods and artistic musical concepts that have been revealed by reflective analyses documented in the written thesis. In particular, concepts and methods stimulating improvisation, variation, presence and creation in the performance have been explored, from the point of view of the song as a concept and the folk singer as a creative performer. The written thesis can be regarded complementary to the performances, and is in itself an analysis of artistic processes, methods and concepts, placed in a theoretical framework relating to concepts such as orality-literacy, performance, flow and artistic expression.

Syftet med denna självstudie är att erhålla kunskap om hur ögonblickets interpretation, dvs. känslan av varande i nuet uppnås inför och under sceniska framträdanden. Studiens frågeställningar är: Vilka tillvägagångssätt används för att uppnå det mentala tillstånd som gör att en känsla varande i nuet infinner sig? Vilka insikter behövs för att en sådan känsla ska infinna sig? Studien utgår från ett hermeneutiskt perspektiv och metod är observation med hjälp av videoinspelning och loggbok. Resultatet presenteras utifrån tre teman: Strävan efter innehållslig förståelse, Insikter av betydelse och Ökad medvetenhet. I diskussionskapitlet vägs resultatet mot den litteratur och tidigare forskning som presenteras i bakgrundskapitlet.
The purpose of this study is to obtain knowledge about how the present moment in music, i.e., the feeling of being in the present moment is achieved before and during musical performances. The study is based on a hermeneutic perspective and the method of choice is video recording and logbook. The results are presented according to three themes: The quest for contextual understanding, insights of importance and increased awareness. In the discussion the result is measured to the literature and previous research presented in the background chapter.

Dissertação de Mestrado Integrado em Arquitetura, com a especialização em Arquitetura apresentada na Faculdade de Arquitetura da Universidade de Lisboa para obtenção do grau de Mestre.
Desde o teatro da época clássica aos novos teatros do século XXI, é inegável a relação íntima entre as configurações destes espaços e os seus enquadramentos histórico-culturais. Trata-se não só de espaços que, como todos os demais, são produtos culturais, como espaços concebidos com o propósito de produção cultural e artística, eles próprios. Em A Presença e Reinvenção dos Grandes Espaços de Cena da cidade burguesa, pretende-se olhar para as preexistências da cidade do século XIX como mote para a reabilitação e revitalização dos edifícios e da envolvente, respetivamente. O trabalho assenta numa reflexão crítica sobre a importância de pensar estes espaços, que hoje evidenciam limitações técnicas e programáticas, e contribuir para a sua aproximação ao público e às dinâmicas culturais do presente século. Parte-se do princípio, amplamente consensual, de que os Novos teatros da cidade burguesa devem abrir portas à cidade e ao público – não exclusivamente ao que assiste às representações teatrais – mas ao público que se interessa por museus, por arquitetura, pelo património edificado da cidade. O exercício de projeto assume uma possibilidade de reabilitação do Teatro Nacional D. Maria II, edifício neoclássico inaugurado em 1846, como espaço de cena a ser reinventado.
ABSTRACT: From the classical theaters to the 21st century’s, the intimate connection between the shaping of these spaces and their historical and cultural frameworks is undeniable. Meaning these spaces aren’t just cultural products, as every other building; but spaces conceived with the purpose of cultural and artistic production themselves. Presence and Reinvention of the Great Scene Spaces of the Bourgeois City intends to look at the preexistences of the 19th century as the impulse for the rehabilitation and revitalization of the main buildings and their surroundings, respectively. The basis for this work is a critical reflexion on the importance of considering these sites that became technically and programmatically challenged, and promote their connection to the public and the present century’s dynamics. We start by the widely acknowledged assumption that the New theaters of the bourgeois city should welcome the city and the public - not only those who go to the theater, but also those interested in museums, architecture and the city’s built heritage. This project exercise takes on the responsibility of rehabilitating the D. Maria II National Theater, a neoclassical building from 1846, as a scene space to be reinvented.
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One of the main aims of this research was to determine the perceived long-term consequences of bullying behaviour in schools. Furthermore, this study examined individual's recollections of the nature and prevalence of bullying and experiences of other forms of violence throughout their life-course; in doing so the reliability of individual's retrospective accounts were also assessed. Further still, school pupil's experiences of bullying and exposure to violence and trauma was also examined, as were their typical behavioural responses to scenes of school bullying. This thesis presents the findings of three studies, focusing on individuals experiences of bullying in school, in a sample of undergraduate university students and post- primary school pupils. In Chapter One, a review of the literature surrounding bullying behaviour research is presented, in addition to an overview of the 'cycle of violence' hypothesis, which permeates all aspects of this research. Chapter Two provides an outline of the continuing debate concerning the use of retrospective in bullying behaviour research and a detailed review of all the scales utilised in the first study. The results of Study One are presented in Chapter Three, in which a short-term longitudinal study assessed the reliability and stability of participants (N = 824) memories, the nature of their life-course victimisation experiences and perceived negative consequences of such experiences. A qualitative approach was adopted in Study Two, involving a series of in-depth interviews with self-reported victims (N = 13) of child abuse, bullying in school and domestic violence, all of whom had previously taken part in the first quantitative study; the results of which are presented in Chapter Four. In Chapter Five, the questionnaire booklet was administered to a sample of post-primary pupils (N = 213), within the local area, to assess their experiences of bullying in school and evaluate their perceived 'rules' for behaviour according to their status group. Finally, a summary and discussion of the results are presented in Chapter Six. Results suggest that 31.1 % (N = 256) of university participants recalled having been bullied in school at some point, and a further 11.9% (N = 98) acknowledged having actively taken part in victimising other pupils at school, with individuals most commonly citing verbal bullying (i.e. name calling). Just over two in five victims (44%) stated that they attempted suicide, with the majority reporting more than one attempt. It was determined that 43.0% of victims reported having experienced abuse during childhood (i.e. physical abuse/neglect, sexual abuse, etc), 35.9% indicated that they had experienced bullying in later-life (i.e. workplace harassment); resulting in one in five participants (N = 53; 20.7%) revealing that they had experienced both abuse and further victimisation. Measures in the questionnaire booklet revealed that participants were more likely to experience depression, anger and hostility, compared to those with no experience of bullying in school. Over one in three 'victim only' participants reported a 'fearful' relationship style, and moreover reported the lowest mean scores relating to same and opposite sex self-esteem, but the highest levels regarding emotional loneliness and social isolation. Further still, symptornology analogues with PTSD were found in 11 % of victims. Finally, reliability analysis revealed that individual's recollections were both accurate and stable across the three data collection point (initial, 6 months post, and 12-14 months post). Reponses from the face-to-face interviews supported these findings with participants expressing how their experiences of bullying in school have affected many aspects of the adult life. Results from the schools based research revealed that 18.8% of pupils reported to be 'victim only' and a further 6.6% stated that they were both the victim and a perpetrator of bullying in school, with name calling and exclusion the most commonly cited forms of behaviours reported. With regards to pupil's experiences of violence, individuals reported experiencing 'vivid memories' recollections and feelings of distress in situations which remind victims of their experiences, leading to outbursts of anger and a general sense of wariness. Furthermore, 'bully only' pupils reported the highest overall mean on a measure of aggression, and on a measure of parenting style reported the highest means relating to 'indifference', 'over-control' and 'abuse'. Self- identified victims reported lowest levels of both same and opposite-sex self-esteem and general self-esteem; and highest levels of both emotional loneliness and social isolation.

This thesis examines the philosophical notion of selfhood in visual representation. I introduce the self as a modern and postmodern concept and argue that there is a loss of selfhood in contemporary culture. Via Jacques Derrida, Jean-Luc Nancy, Gerhard Richter and the method of deconstruction of language, I theorise selfhood through the figurative and literal analysis of duration, the frame, and the mirror. In this approach, selfhood is understood as aesthetic-ontological relation and construction based on specific techniques of the self. In the first part of the study, I argue for a presentational rather than representational perspective concerning selfhood by translating the photograph Self in the Mirror (1964), the painting Las Meninas (1656), and the video Cornered (1988), into my conception of a cinematic theory of selfhood. Based on the presentation of selfhood in those works, the viewer establishes a cinematic relation to the visual self that extends and transgresses the boundaries of inside and outside, presence and absence, and here and there. In the second part, I interpret epistemic scenes of cinematic works as durational scenes in which selfhood is exposed with respect to the forces of time and space. My close readings of epistemic scenes of the films The Congress (2013), and Boyhood (2014) propose that cinema is a philosophical mirror collecting loss of selfhood over time for the viewer. Further, the cinematic concert A Trip to Japan, Revisited (2013), and the hyper-film Cool World (1992) disperse a spatial sense of selfhood for the viewer. In the third part, I examine moments of selfhood and the forces of death, survival, and love in the practice of contemporary cinematic portraiture in Joshua Oppenheimer’s, Michael Glawogger’s, and Yorgos Lanthimos’ work. While the force of death is interpreted in the portrait of perpetrators in The Act of Killing (2013), and The Look of Silence (2014), the force of survival in the longing for life is analysed in Megacities (1998), Workingman’s death (2005), and Whores’ Glory (2011). Lastly, Dogtooth (2009), Alps (2011), and The Lobster (2015) present the contemporary human condition as a lost intuition of relationality epitomised in love.

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The text brings the analysis of aspects of the literary discourse as the processes of construction of the scenes and the magical universe, in which the narratives of Marina Colasanti are realized, having as it shows the tales of the works Doze reis e a moca no labirinto do vento (2006): "The woman ramada", Uma ideia toda azul (2006): "Beyond the frame", "Between the leaves of green ó" and "Yarn after yarn". The general and specific objectives are to highlight and distinguish the encompassing and generic scenes present in the narratives, to identify the nature of the verbal sign in its relation to the nonverbal sign, and to analyze intertext resources, paratext, among others, as an artistic procedure. The narrative plans are approached, in which the characters are realized mimically, starting from the initial assumption formulated by Dominique Maingueneau. Non-verbal language is an invitation to read verbal language and vice versa. Both are associated with the signs that are constructed through the textual writing: loom and fabric. They can be seen now either explicitly or implicitly, and put in the service of a power that is realized by the act of reading. Thus, in the narrative text, there are traces of a speech in which the text is staged.
O texto traz a análise de aspectos do discurso literário como os processos de construção das cenas e o universo mágico, em que se realizam as narrativas de Marina Colasanti, tendo como mostra os contos das obras Doze reis e a moca no labirinto do vento (2006): “A mulher ramada”, Uma ideia toda azul (2006): “Além do bastidor”, “Entre as folhas do verde ó” e “Fio após fio”. Os objetivos geral e específicos são destacar e distinguir as cenas englobante e genérica presentes nas narrativas, identificar a natureza do signo verbal na sua relação com o signo não verbal e analisar recursos de intertexto, paratexto, entre outros, como procedimento artístico. Abordam-se os planos narrativos, nos quais se dá a realização dos personagens mimeticamente, partindo do pressuposto inicial formulado por Dominique Maingueneau. A linguagem não verbal é um convite à leitura da linguagem verbal e vice-versa. Ambas se associam aos signos que se constroem por meio da escritura textual: tear e tecido. Elas podem ser vistas ora de modo explícito, ora implícito, e se colocam a serviço de um poder que se realiza pelo ato de leitura. Assim, no texto narrativo, há rastros de um discurso em que o texto é encenado.

This dissertation begins with a discussion of the rediscovery and rehabilitation of masks as tools of performance and pedagogy in Western theatre over the past century, considering the work of various theorists, directors, teachers and performers in whose work the mask occupies a significant position. Discussion then focuses on the development of the neutral mask as an object and as a paradigm of pedagogy for the actor over the past eighty years and undertakes a comparative investigation of the concept of neutrality as a performant state. The discussion takes in the teaching of Jacques Copeau, Etienne Decroux and Jacques Lecoq, and extends to the theories of Eugenio Barba, considering the possible parallels between Barba's 'pre-expressive' state and the state of neutrality which the mask assists to develop in the actor. The dissertation further proposes that the term 'performative liminality' is an appropriate term to adopt for this performant state, and makes this proposal with reference to the theories of anthropologist Victor Turner regarding the liminal state. The practice-as-research component of the project sought to investigate and document the various uses of the neutral mask and its application to the creative processes of the actor, and aimed to provide qualitative analysis and evaluation of the neutral mask when used in a developmental workshop environment. The dissertation contains a full account of the practice component of the project and details the processes used to investigate the neutral mask, offering analysis drawn from the inside experiences of the actors and the outside observations of the researcher. Within that analysis is a consideration of the neutral mask as a tool for developing the scenic presence of the actor.
Masters Thesis

This dissertation begins with a discussion of the rediscovery and rehabilitation of masks as tools of performance and pedagogy in Western theatre over the past century, considering the work of various theorists, directors, teachers and performers in whose work the mask occupies a significant position. Discussion then focuses on the development of the neutral mask as an object and as a paradigm of pedagogy for the actor over the past eighty years and undertakes a comparative investigation of the concept of neutrality as a performant state. The discussion takes in the teaching of Jacques Copeau, Etienne Decroux and Jacques Lecoq, and extends to the theories of Eugenio Barba, considering the possible parallels between Barba's 'pre-expressive' state and the state of neutrality which the mask assists to develop in the actor. The dissertation further proposes that the term 'performative liminality' is an appropriate term to adopt for this performant state, and makes this proposal with reference to the theories of anthropologist Victor Turner regarding the liminal state. The practice-as-research component of the project sought to investigate and document the various uses of the neutral mask and its application to the creative processes of the actor, and aimed to provide qualitative analysis and evaluation of the neutral mask when used in a developmental workshop environment. The dissertation contains a full account of the practice component of the project and details the processes used to investigate the neutral mask, offering analysis drawn from the inside experiences of the actors and the outside observations of the researcher. Within that analysis is a consideration of the neutral mask as a tool for developing the scenic presence of the actor.
Masters Thesis